WEBVTT - Questlove Supreme: Leroy Burgess Part 2 0:00:00.160 --> 0:00:00.600 Quest Love. 0:00:00.640 --> 0:00:04.720 Supreme is a production of iHeartRadio. 0:00:05.000 --> 0:00:05.960 Yeo's Up, Everybody. 0:00:05.960 --> 0:00:09.400 This is Fante Fontigelow from Team Supreme and we are 0:00:09.600 --> 0:00:10.600 back with part. 0:00:10.480 --> 0:00:13.560 Two of our conversation with Leroy Burgess. This is a 0:00:13.600 --> 0:00:14.640 guy who I wanted to. 0:00:14.640 --> 0:00:17.919 Speak with for years, longtime fan of his music and 0:00:18.040 --> 0:00:18.759 all of his work. 0:00:19.040 --> 0:00:21.840 Honestly, this was one of my favorite interviews this season. 0:00:21.880 --> 0:00:25.000 We got to talk about his catalog, his production work, 0:00:25.200 --> 0:00:26.920 his early days everything. 0:00:26.960 --> 0:00:28.040 If you haven't heard it yet. 0:00:27.880 --> 0:00:30.280 Please make sure you check out part one, where Leroyd 0:00:30.320 --> 0:00:33.560 talks about his beginnings, his group Black Ivory and Wu 0:00:33.600 --> 0:00:35.080 Tang sampling his music. 0:00:35.400 --> 0:00:37.160 Now here's part two. Enjoy. 0:00:37.479 --> 0:00:49.040 Yeah, when would you say is the moment that you 0:00:49.320 --> 0:00:56.000 graduated from just songwriting and singing to like at the 0:00:56.040 --> 0:01:00.360 helm of production where Patrick sorted taking a back seat 0:01:00.440 --> 0:01:03.640 and now this is a Leroy Burgess production. 0:01:04.440 --> 0:01:07.200 Okay, that's the easy too, That's the easy one. The 0:01:07.480 --> 0:01:11.720 transition moment, the actual transition moment when I when I 0:01:11.840 --> 0:01:19.240 transitioned from composer and musician into producer arranger. Was the 0:01:19.280 --> 0:01:23.679 Weekend album, the Freak album. I had stepped away from 0:01:23.720 --> 0:01:26.840 Black Ivy, took a hiatus from Black Ivy and participating 0:01:26.920 --> 0:01:29.760 with them. And the first person I went to was Patrick, 0:01:30.319 --> 0:01:32.920 and Patrick used to work me out of worked on 0:01:32.920 --> 0:01:36.399 the Benny King album Art Webbed album. You know, just 0:01:36.680 --> 0:01:39.120 background vocals, the keyboards or something like that, you know, 0:01:39.200 --> 0:01:41.720 stuff like that. Then he said, I got this album 0:01:41.920 --> 0:01:44.840 and Lanty's giving me a project called Free and I 0:01:44.880 --> 0:01:48.960 need two songs, right, And I had one song called 0:01:48.960 --> 0:01:53.080 Weekend and one song called Much too Much. And he said, okay, 0:01:53.560 --> 0:01:56.520 but you're gonna write all the charts you're gonna put 0:01:56.600 --> 0:01:59.840 You're gonna write well. He said, I'll do the strings, 0:02:00.440 --> 0:02:02.560 but I want you to do the horns, right. I 0:02:02.600 --> 0:02:04.840 want you to do all the since, and I want 0:02:04.880 --> 0:02:07.840 you to teach the rhythm musicians, which is something I 0:02:08.000 --> 0:02:11.160 learned from teaching my band, the band the songs, you know, 0:02:11.200 --> 0:02:14.200 the Black Ivory Band, the songs, how to play and 0:02:14.440 --> 0:02:17.000 how I wanted them arranged. So I had a bat 0:02:17.120 --> 0:02:19.720 But this was the first time I started writing charts 0:02:19.760 --> 0:02:22.640 and you know, having to do that. So that was 0:02:22.639 --> 0:02:25.760 the actual transition because when I went to the studio 0:02:25.880 --> 0:02:29.280 to do it at Bob Blank Studios, I was waiting 0:02:29.280 --> 0:02:32.600 for power. I went in there waiting for his the charts. 0:02:32.800 --> 0:02:36.079 Good luck. And he was like, no, no, no, no. 0:02:36.440 --> 0:02:39.799 You go in there with the musicians, right, show them 0:02:39.800 --> 0:02:42.000 the song, give them the parts that you want them 0:02:42.040 --> 0:02:45.680 to play. Right, you're gonna I'm gonna play acousta piano, 0:02:45.800 --> 0:02:48.919 you play electric piano, right, and this is how we're 0:02:48.960 --> 0:02:52.240 gonna do it. And he said, you're at the helm. 0:02:52.360 --> 0:02:55.400 I want this to be what you want, right, So 0:02:55.480 --> 0:02:57.880 you're gonna come up with the parts. All I'm gonna 0:02:57.880 --> 0:03:02.800 do is the strange. And I was heavy. So that 0:03:03.000 --> 0:03:09.720 was me actually stepping coursing that threshold into production and 0:03:09.840 --> 0:03:12.200 arranging and so forth. That was It was that moment. 0:03:12.520 --> 0:03:15.440 How did you learn to like read music and play? 0:03:15.520 --> 0:03:17.920 Were you just playing by ear or were you formally trained? 0:03:18.280 --> 0:03:22.000 And are these chord charts or like noted notes? 0:03:22.480 --> 0:03:28.560 Yeah, okay, to answer your question quest, they are chord charts, 0:03:28.720 --> 0:03:31.920 all right, okay? Patrick was Patrick taught me how to 0:03:31.919 --> 0:03:35.200 write the chord charts right. He would later teach me 0:03:35.240 --> 0:03:37.800 how to write the horn charts and write for strength 0:03:37.840 --> 0:03:41.720 and to do full arrangements. I started playing when I 0:03:41.760 --> 0:03:44.280 was four years old, you know, playing with the church. 0:03:44.520 --> 0:03:46.320 But I don't call it. I call that banging on 0:03:46.360 --> 0:03:50.560 the piano. I was banging, Okay. When I was very young, 0:03:50.760 --> 0:03:53.280 my moms used to get me away from my sisters, 0:03:53.440 --> 0:03:56.040 so she sent me to a babysitter that had a piano. 0:03:56.600 --> 0:03:59.880 But she taught me little things like Twinkle Twinkle Lit 0:04:00.360 --> 0:04:03.400 Star in this old man he played one right, and 0:04:03.440 --> 0:04:05.240 how to play those on the piano, and that got 0:04:05.280 --> 0:04:09.480 me interested. Fast forward to when I was eleven, I 0:04:09.600 --> 0:04:14.800 had a brilliant music teacher in the person of Herbie Jones. 0:04:14.840 --> 0:04:20.719 Herbie Jones was Duke Ellington's chief rhythm and brass arranger, Wow, 0:04:21.400 --> 0:04:26.240 and he worked on his side job was working at 0:04:26.240 --> 0:04:29.839 the Cadet Corse Central Harlem. My mother, father and sisted 0:04:29.880 --> 0:04:34.000 I joined the Cadets, so I would worry. I'd be 0:04:34.120 --> 0:04:36.000 on top of him. Oh how did you play that? 0:04:36.080 --> 0:04:38.600 And he taught me how to play chords, how to 0:04:38.640 --> 0:04:41.760 recognize notes, so forth, and so on so forth. Now 0:04:41.839 --> 0:04:44.719 combined this with what I was learning from Patrick in 0:04:44.839 --> 0:04:50.160 terms of the specifics of reading and writing and notating 0:04:50.160 --> 0:04:54.080 and so forth and so on, and I gradually learned 0:04:54.720 --> 0:04:58.560 how to do it all. But it was a gradual thing. 0:04:58.600 --> 0:05:01.520 It was an aide. I went to Julliardo, I went 0:05:01.520 --> 0:05:02.000 to right. 0:05:02.560 --> 0:05:04.200 I went before we I just wanted to go back 0:05:04.200 --> 0:05:07.400 to you and I just before we forget it. Larry Blackman, 0:05:07.600 --> 0:05:10.960 we had him on the show. He's playing drums on that. 0:05:11.080 --> 0:05:12.680 Do you remember that session? 0:05:13.279 --> 0:05:18.159 Uh? Yes, I do. He on the Don't turn Around? 0:05:18.200 --> 0:05:21.000 First of all, the only songs that we did in 0:05:21.040 --> 0:05:24.479 Philly was Don't turn Around, And I keep asking questions 0:05:24.520 --> 0:05:27.159 those two songs, which was A and B sides of 0:05:27.200 --> 0:05:31.240 our first single, right. Everything else on the Don't Turn 0:05:31.279 --> 0:05:36.080 Around album we recorded in New York at Blue Rock Studios. Right. 0:05:36.920 --> 0:05:40.800 Dy Blackman happened to live in my housing complex, Drew 0:05:41.400 --> 0:05:45.000 Hamilton Houses. I lived in building like two hundred wus 0:05:45.000 --> 0:05:47.320 on forty three. He lived down the block on the 0:05:47.360 --> 0:05:50.880 eighth Avenue building. Right, Patrick knew him. I didn't know 0:05:50.960 --> 0:05:53.800 that Patrick knew him, but Patrick knew him. Right. So, 0:05:53.960 --> 0:05:56.640 when Patrick was putting together the arrangement for you and 0:05:56.680 --> 0:05:59.520 I so forth and so on, he said, I said, well, 0:05:59.520 --> 0:06:01.640 who's gonna played the grums? And he was like, well, 0:06:01.800 --> 0:06:04.000 is guy Larry black When I'm like, oh, he's like, 0:06:05.400 --> 0:06:09.520 he said, well, he's really good at He's the perfect guy. 0:06:10.160 --> 0:06:14.400 So Larry played on You and I. He played on 0:06:14.520 --> 0:06:17.960 finding one who Loves You and he played on she 0:06:18.080 --> 0:06:22.160 said that she's leaving those three songs, got it? 0:06:22.760 --> 0:06:24.919 Thank you for that? All right? 0:06:25.000 --> 0:06:28.760 So I have a production question to ask you, like, 0:06:28.839 --> 0:06:33.560 how are you able to develop your sound? Because you know, 0:06:33.680 --> 0:06:35.920 I mean next to the Randy Moellers of the world 0:06:36.000 --> 0:06:40.960 and later the Kachiefs, like, you're doing some really revolutionary 0:06:41.080 --> 0:06:44.760 in disco and post disco music. But I would assume 0:06:44.800 --> 0:06:47.039 that you would have to have a lot of hours 0:06:47.480 --> 0:06:52.080 to figure out what the sound is and like, so, 0:06:52.120 --> 0:06:54.800 how are you able to develop your sound like that? 0:06:55.600 --> 0:07:01.720 Well? Meeting no disrespect, absolutely overthinking it a little. 0:07:01.520 --> 0:07:11.760 Bit, all right, thinking wow it what? 0:07:11.760 --> 0:07:13.400 What this always happens on the show? 0:07:13.520 --> 0:07:16.600 I'm shocked in a gas. 0:07:19.480 --> 0:07:24.160 I surrounded myself with great people, great musicians who are 0:07:24.360 --> 0:07:28.200 very simple but do a really good job. Now, in 0:07:28.240 --> 0:07:30.640 the case of Let's do It, Let's do It was 0:07:30.680 --> 0:07:34.800 composed as an afterthought for the most part. Wow, we 0:07:34.800 --> 0:07:40.120 were hired to record another song. Uh, I forget I 0:07:40.160 --> 0:07:41.920 even forgot the name of that song. It was just 0:07:42.080 --> 0:07:46.920 we were just hired as musicians, right. But Greg Carmichael, 0:07:46.960 --> 0:07:50.040 who was the producer, he had booked twelve hours. We 0:07:50.120 --> 0:07:52.040 got through the first song, you know, the song we 0:07:52.080 --> 0:07:55.640 needed that we were booked to do uh in two 0:07:55.640 --> 0:07:58.000 and two hours, two and a half hours, something like that. 0:07:58.280 --> 0:08:00.320 So he said, well, I'm not doing anything else with 0:08:00.400 --> 0:08:03.400 the time. Why don't you guys come up with something 0:08:03.440 --> 0:08:05.360 and I'll let you all recall what you want to do. 0:08:06.400 --> 0:08:10.440 So we ordered some food and while we waited for 0:08:10.480 --> 0:08:15.240 the food, I went into the instrument room and started 0:08:15.640 --> 0:08:20.120 twinking on the piano. Right, Usually it doesn't take but 0:08:20.200 --> 0:08:24.160 a minute for my brother James Callaway On to come 0:08:24.200 --> 0:08:27.320 in on bass. So came up with something just very simple. 0:08:28.040 --> 0:08:30.320 So then James came in and he played on top 0:08:30.360 --> 0:08:33.600 of me, playing that. Right. Sonny came in and he 0:08:33.640 --> 0:08:36.360 played on top of me playing that you know. So 0:08:36.400 --> 0:08:39.160 the three of us were playing and arrived at that groove. 0:08:39.920 --> 0:08:44.080 Right after that, we basically laid the whole thing down. 0:08:44.360 --> 0:08:47.800 One thing that I liked about it is because I 0:08:48.000 --> 0:08:51.080 like to come up with jazz changes for a disco song, 0:08:51.120 --> 0:08:55.000 which because they don't belong there, right. So once I 0:08:55.080 --> 0:08:57.440 had everything together, we went in, we did the rhythm, 0:08:58.280 --> 0:09:03.200 and we once we had the rhythm track all in there, 0:09:03.520 --> 0:09:08.559 then Sonny, my cousin Sonny Davenport. He started laying percussion pieces, 0:09:08.600 --> 0:09:11.920 the kunga first ball, the second a go go, the 0:09:11.920 --> 0:09:16.439 famous of go go let, tambourine, stuff like that. Right, 0:09:16.880 --> 0:09:22.200 while we called my sister with name my girl, Dorothy Terrell, 0:09:22.679 --> 0:09:24.680 and a couple of other females to come in and 0:09:24.720 --> 0:09:29.000 do the background. We wrote the words that night, right, 0:09:29.160 --> 0:09:32.600 oh wow, came up with the wrap that night. Right. 0:09:32.920 --> 0:09:36.600 So within the remaining eight hours we came we uh 0:09:37.160 --> 0:09:40.160 where we started with nothing and we ended up with 0:09:40.360 --> 0:09:40.960 let's do it. 0:09:41.320 --> 0:09:43.120 I always wanted to know how you came up with 0:09:43.200 --> 0:09:46.800 all the names for your like your aliases, like long conversion, 0:09:46.920 --> 0:09:49.000 like where'd that come from? 0:09:49.240 --> 0:09:53.040 I didn't come up with them. Oh okay. Most of 0:09:53.080 --> 0:09:57.120 the time it would be a matter of me saying, well, 0:09:57.160 --> 0:09:58.959 I don't want it to be me. I don't want 0:09:59.000 --> 0:10:02.199 it to be a Leroy record, right, this is a 0:10:02.240 --> 0:10:06.000 group effort, so forth and so on. And initially the 0:10:06.080 --> 0:10:08.920 name of the group was Caliber, which is an anagram 0:10:09.000 --> 0:10:14.920 of Leroy Burgess and James cal Away, right, okay, okay, Caliber, 0:10:15.040 --> 0:10:18.800 And that's on your leams hooked on your love records. Right, 0:10:20.080 --> 0:10:23.160 That's the only time we used that. After that, it 0:10:23.280 --> 0:10:25.280 was like as long as we retained the sound. I 0:10:25.320 --> 0:10:30.040 didn't care what name we used, right, I leave it 0:10:30.120 --> 0:10:33.400 to the record companies to come up with. Sam Records 0:10:33.400 --> 0:10:35.960 came up with Conversion. We were like, oh hey Conversion. 0:10:38.760 --> 0:10:42.840 When he when he copyrighted the name Conversion and Susol 0:10:42.920 --> 0:10:46.200 Records wanted that group. They were like, well, you can't 0:10:46.320 --> 0:10:49.280 use the name Conversion, So what would I said, I 0:10:49.320 --> 0:10:49.679 don't care. 0:10:50.000 --> 0:10:50.640 Call it whatever. 0:10:50.920 --> 0:10:56.400 They called it log right, And from there Universal Robot Band. 0:10:56.240 --> 0:11:00.320 Came out of that, Yes, yes, even man. 0:11:01.080 --> 0:11:03.760 Then from that, you know, the names just evolved from 0:11:03.920 --> 0:11:06.840 different places. I never really what was important to me 0:11:07.400 --> 0:11:10.360 was that the sound and the team was doing the 0:11:10.400 --> 0:11:13.679 same thing and arriving at the style of music that 0:11:13.720 --> 0:11:15.199 we hope would be embraced. 0:11:15.640 --> 0:11:15.840 Yeah. 0:11:16.200 --> 0:11:19.160 One of my favorite records of yours I always wanted 0:11:19.160 --> 0:11:22.839 to ask you about by Caprice. Do you remember cutting it? 0:11:22.920 --> 0:11:25.000 Like who's singing lead on that record? It sounds like 0:11:25.000 --> 0:11:28.640 a little girls that was like a kid, But but 0:11:29.120 --> 0:11:30.880 I love that song, man, It's one of my favorites 0:11:30.880 --> 0:11:31.520 in your catalog. 0:11:31.840 --> 0:11:34.440 Jackie Bradley used to play guitar for the Black Ivory 0:11:34.480 --> 0:11:36.640 Band and one of the early bands that we worked 0:11:36.640 --> 0:11:38.800 with He was part of the sols to Be as 0:11:38.800 --> 0:11:42.600 Our band. Right, fast about in the eighties. This is 0:11:43.040 --> 0:11:45.920 that's in the early seventies, right, So fast forward to 0:11:45.960 --> 0:11:49.320 the eighties and Jackie is putting together his own band, Caprice. 0:11:49.360 --> 0:11:52.080 He comes to me says, I would like for you 0:11:52.120 --> 0:11:54.200 to give us a song. If you got a song, 0:11:54.240 --> 0:11:56.760 we'd like to do a song of yours. Right. So 0:11:56.800 --> 0:11:58.920 I'm like, okay, we got a song. Me and Sonny 0:11:59.240 --> 0:12:04.400 had composed call right, And so we actually went into 0:12:04.480 --> 0:12:10.040 the process of teaching them. The singer Evette Davis was 0:12:10.120 --> 0:12:16.200 this was like her first record. So she was very Oh, 0:12:16.240 --> 0:12:17.640 she was tentative, she was. 0:12:17.640 --> 0:12:18.400 Scared, she. 0:12:19.920 --> 0:12:22.600 Was she was she she was like she didn't believe 0:12:22.640 --> 0:12:24.840 in her voice and so forth. And I was like, no, honey, 0:12:24.880 --> 0:12:29.040 you just trust me. I'll get you to Just trust 0:12:29.080 --> 0:12:31.480 me and I can get you to to I can 0:12:31.559 --> 0:12:33.880 introduce you to the singer that's within you. 0:12:34.320 --> 0:12:35.800 How old was she at this time? 0:12:36.200 --> 0:12:39.480 She was in her twenties. She was in her twenties 0:12:39.520 --> 0:12:43.200 and thirties or something like that, Okay, And so I 0:12:43.320 --> 0:12:46.880 walked her through how to sing it. Because she really 0:12:46.920 --> 0:12:50.600 has a voice that like has a quality like Denise 0:12:50.600 --> 0:12:55.880 Williams like that really lilting tiny you know, it's like 0:12:56.360 --> 0:12:58.440 you know, but at at certain points she can be 0:12:58.559 --> 0:13:02.280 very powerful, but know it's just this lilting quality. And 0:13:02.320 --> 0:13:05.200 I said, we can use that. Let's use that that quality. 0:13:05.760 --> 0:13:07.920 That's when she goes and now is the time, don't 0:13:07.920 --> 0:13:09.640 you know? 0:13:11.480 --> 0:13:15.760 Yes, sir, she was perfect for it. 0:13:15.800 --> 0:13:17.840 I made everybody get out of the studio watch and 0:13:17.880 --> 0:13:20.280 cut the leads all right. The only ones that was 0:13:20.320 --> 0:13:22.920 there with was myself and Sonny and the VET and 0:13:22.960 --> 0:13:26.840 the engineers because I didn't want her intimidated by the 0:13:26.880 --> 0:13:30.760 other band members and so forth and song. But she 0:13:30.880 --> 0:13:35.160 did an amazing job in realizing that song. 0:13:36.040 --> 0:13:41.480 Okay, so, since you just dropped your process and especially 0:13:41.480 --> 0:13:46.000 with your aliases, can I assume that the the Bumblebee 0:13:46.080 --> 0:13:48.960 Unlimited song is just the lemes on very speed? 0:13:50.000 --> 0:13:54.160 Well, it's actually not the alems Bumblebee Unlimited would usually 0:13:54.200 --> 0:14:01.040 be Patrick myself and and yeah versep just I speeded down. 0:14:01.120 --> 0:14:05.319 And wasn't that a little risky in terms of like, hey, 0:14:05.360 --> 0:14:09.839 this the song might actually get some traction on radio 0:14:09.840 --> 0:14:11.640 and whatnot, Like do we want to sing it at 0:14:11.720 --> 0:14:13.440 very speed or in our natural voices? 0:14:13.480 --> 0:14:14.959 Like, what made you want to do that? 0:14:15.559 --> 0:14:20.840 Well, Bumblebee Unlimited was Patrick's brainchild, Okay, And the whole 0:14:20.880 --> 0:14:23.320 thing is at that point, I was desperate for work 0:14:23.360 --> 0:14:26.280 because I had just left Black Abbrey, so I needed 0:14:26.320 --> 0:14:29.280 to work so bad. So whatever Patrick wanted to do, 0:14:29.360 --> 0:14:32.760 I was like, yeah, I'm fine with that. I was 0:14:32.800 --> 0:14:36.800 more worried about it being us having a problem with 0:14:36.880 --> 0:14:44.840 gross Bagdasavian productions because of Alvin and the Chipmunks and they, 0:14:45.240 --> 0:14:49.080 you know, compared it was the same process. This is 0:14:49.360 --> 0:14:52.440 exactly the same process, but Patrick's had done about it. 0:14:52.560 --> 0:14:55.040 I'll call the bumble Bee and nobody who will will 0:14:55.120 --> 0:14:55.720 be the wiser. 0:14:56.200 --> 0:14:58.840 So you really thought somebody would come at you for 0:14:59.440 --> 0:15:01.760 because Stevie Wonder did it on maybe your Baby and 0:15:02.200 --> 0:15:11.440 slot Like, I'm just realizing now that side one or fresh. 0:15:09.200 --> 0:15:12.760 That entire side one sly singing in arry speed. 0:15:13.720 --> 0:15:14.680 I did not know that. 0:15:14.960 --> 0:15:15.600 I mean, it's not. 0:15:15.760 --> 0:15:19.560 Extreme various speed where it sounds like Alvin and Chipmunks. 0:15:19.560 --> 0:15:23.360 He when they did the French version of dance to 0:15:23.400 --> 0:15:26.240 the music, he didn't call it slide in the family Stone. 0:15:26.240 --> 0:15:30.560 He called it the French Fries And they kept the 0:15:30.600 --> 0:15:34.160 same musical backdrop as danced to the music, but they 0:15:34.200 --> 0:15:37.400 sang it as Alvin and the Chipmunks and it was 0:15:37.400 --> 0:15:39.440 really Lolly Gaggan or whatever. It's like a rare B 0:15:39.640 --> 0:15:43.320 side and yeah for Europe, but I love that song. 0:15:43.920 --> 0:15:47.160 Before I get to my next question, OK, just in 0:15:47.280 --> 0:15:49.600 general with New York. 0:15:50.720 --> 0:15:53.240 And various bands around now. 0:15:53.280 --> 0:15:57.520 We mentioned you know, brother Larry Blackman before, but you know, 0:15:57.560 --> 0:16:02.560 around this time, are you at all having interactions at 0:16:02.600 --> 0:16:06.160 all with like, you know, like with Larry Muller and 0:16:06.960 --> 0:16:11.080 uh or BECAUSEI fosso came from BT Express a little later, 0:16:11.720 --> 0:16:16.680 but you know, as you guys are kind of molding 0:16:16.760 --> 0:16:21.120 and shaping really the sound of disco and more importantly 0:16:21.160 --> 0:16:21.760 the sound. 0:16:21.560 --> 0:16:22.360 Of post disco. 0:16:23.040 --> 0:16:23.200 Uh. 0:16:23.920 --> 0:16:25.560 I guess we call it bookie. I don't know if 0:16:25.600 --> 0:16:27.560 you called the bookie or not, but people have tacked 0:16:27.560 --> 0:16:32.480 it bookie. Are you having any interactions with those guys whatsoever? 0:16:33.360 --> 0:16:35.760 I met Randy at at a little gig we did 0:16:35.760 --> 0:16:39.960 at a club called APT back in the early weekends, 0:16:40.400 --> 0:16:43.960 and we're friends. The same thing with Hubett Eves the Third, 0:16:44.760 --> 0:16:48.600 and I'm friends with all of them. We have not 0:16:49.120 --> 0:16:55.479 interacted professionally to collaborate on any music, but we appreciate 0:16:55.600 --> 0:16:57.120 where each other's coming from. 0:16:58.280 --> 0:17:01.880 I mean some some credit now rogers some who do 0:17:01.960 --> 0:17:07.400 you feel is the person that really is the proprietor 0:17:07.560 --> 0:17:12.719 of Bookie like a slow down version, same disco pulse, 0:17:12.760 --> 0:17:21.120 but less less cluttered and more groove based, in other words, 0:17:21.119 --> 0:17:24.120 more for the backyard barbecue than Studio fifty four. 0:17:24.640 --> 0:17:27.639 Like well, if you ask anybody in London, they would 0:17:27.640 --> 0:17:28.359 tell you it's me. 0:17:30.320 --> 0:17:35.760 I say to you as well, straight up, I don't know. 0:17:36.800 --> 0:17:41.760 I just come from Harlem, right in Harlem, while disco 0:17:41.960 --> 0:17:44.960 is like kind of up in one twenty one twenty, 0:17:46.520 --> 0:17:49.000 you know, get the hord rate going and so forth. 0:17:49.560 --> 0:17:56.639 I'm from that chill boom chill boom boom boom boom 0:17:56.640 --> 0:18:00.400 boo boom. I'm there right in terms of I want 0:18:00.440 --> 0:18:03.720 to create and where the groove is for me, right right, 0:18:04.040 --> 0:18:07.159 So when I did songs like fat Rating, when I 0:18:07.320 --> 0:18:10.440 created let's do it and so forth, that's where we at. 0:18:10.480 --> 0:18:13.360 We swinging right there. We're not interested in boom boom 0:18:13.400 --> 0:18:17.879 boom boom boom boom. Now we we do these records 0:18:17.880 --> 0:18:22.960 for record companies who, in their brilliance, in their moments 0:18:22.960 --> 0:18:25.760 of genius, they decide, all right, let's take it and 0:18:25.760 --> 0:18:27.840 give it to somebody t sweet it up, but just 0:18:27.960 --> 0:18:32.960 go sweet. It had to go through it. But as 0:18:33.040 --> 0:18:37.240 far as boogie is just a chilled out, laid back 0:18:37.840 --> 0:18:42.439 kind of groovy joint right where you can still party 0:18:42.520 --> 0:18:48.240 hard to it without you know, having a cardiac arrest, right. 0:18:50.560 --> 0:18:51.080 Two step? 0:18:51.480 --> 0:18:54.440 So what was sweet to Me ever considered like a 0:18:54.480 --> 0:18:57.000 single from from the lock record. 0:18:57.040 --> 0:18:59.560 From the log album sweet to Me so sweet? 0:19:00.119 --> 0:19:03.520 That's like I go heavy on that song when I 0:19:03.520 --> 0:19:07.480 do my bookie sets, and I always wanted to know 0:19:07.560 --> 0:19:10.400 why wasn't that ever like given the single treatment. 0:19:11.359 --> 0:19:19.520 Well, because the hierarchy can care stand care at salso records, 0:19:19.640 --> 0:19:23.400 they decided that the only well there would be two 0:19:23.640 --> 0:19:26.399 singles there would be I Know You Will, which was 0:19:26.400 --> 0:19:32.639 the Larry Levan record You've Got That Something right, and 0:19:33.480 --> 0:19:37.320 Dancing into the Stars right. The others laid on the 0:19:37.400 --> 0:19:42.440 line sweet to Me. They never really made it into 0:19:42.480 --> 0:19:47.439 the forefront of being a single in terms of Souso's 0:19:48.359 --> 0:19:50.200 feeling or what they decided to do. 0:19:50.520 --> 0:19:52.360 So so they just felt it was filler. 0:19:53.119 --> 0:19:55.359 Yeah, they felt it with filler. But here's the big 0:19:55.400 --> 0:19:59.440 story about it. It's crazy we mentioned Universal Robot Band. 0:19:59.560 --> 0:20:03.200 Right, yes, sir, barely break it even a right. 0:20:03.400 --> 0:20:09.720 Barely breaking even is actually the seventh song from the Log. 0:20:09.560 --> 0:20:13.280 Out, Oh okay, gotcha. 0:20:13.320 --> 0:20:17.320 All right, barely breaking even. We recorded to close the 0:20:17.440 --> 0:20:20.760 Log album out all right. That's when we got all 0:20:20.800 --> 0:20:23.160 of the musicians, all of the singers who were put 0:20:23.240 --> 0:20:26.000 together the Log project. We called them all in the 0:20:26.040 --> 0:20:29.679 studio for I think it was an eighteen hour session 0:20:29.760 --> 0:20:33.040 or something like that. Right, everybody was in there. We 0:20:33.160 --> 0:20:36.159 fed everybody, made sure everybody was comfortable with plenty of 0:20:36.160 --> 0:20:39.760 stuff and smoke, and you know, we were the happy session. 0:20:40.040 --> 0:20:42.560 And I said, we're gonna do this great record where 0:20:42.560 --> 0:20:45.439 everybody's gonna sing, and it's gonna be like this giant 0:20:45.520 --> 0:20:48.960 quiet and we're all going to talk about how hard 0:20:49.000 --> 0:20:52.240 it is to keep money in our pocket. Barely breaking even. Right. 0:20:53.720 --> 0:20:59.159 What happened was our co producer, Greg Carmichael heard the 0:20:59.200 --> 0:21:03.040 record and was very please with it, right, and decided 0:21:03.080 --> 0:21:05.600 to go to South Soul to get a little extra paper, 0:21:06.560 --> 0:21:10.120 little extra paper, I want a little extra can't care? 0:21:10.240 --> 0:21:16.760 Said no? Right, so Greg said, in the middle of 0:21:16.800 --> 0:21:19.800 the night, around two thirty in the morning, Right, he 0:21:19.880 --> 0:21:24.240 went to the studio and was recording, and he told him, 0:21:24.280 --> 0:21:27.159 I want to make a safety of the master of 0:21:27.200 --> 0:21:30.600 the twenty four. I want to make it and I'll 0:21:30.600 --> 0:21:34.800 bring it right back that Later that day we went 0:21:34.880 --> 0:21:37.800 to mix the song to do a final mixture of 0:21:37.840 --> 0:21:40.679 the song to complete the album, and found it not 0:21:40.840 --> 0:21:45.480 to be there. So of course we're like, oh my god, 0:21:45.520 --> 0:21:49.280 what how did y'all let it go? All right, so 0:21:49.359 --> 0:21:51.439 we get on the phone. We can't care, So so 0:21:51.720 --> 0:21:53.800 we coming down there right now, Greg to the t 0:21:53.960 --> 0:21:57.320 blah blah blah, blah blah blah. We expected that King 0:21:57.480 --> 0:22:00.399 cared to be completely up in arms about the loss 0:22:00.400 --> 0:22:04.879 of Bailly breaking even right. That's when Ken told us 0:22:04.920 --> 0:22:07.800 about Well, Greg came and was looking for extra paper, 0:22:08.280 --> 0:22:10.280 so forth and so on. I did not want to 0:22:10.280 --> 0:22:14.359 give it to him, and that's why he, you know, 0:22:14.760 --> 0:22:20.159 com and died to take. Right. Essentially, the outrage that 0:22:20.200 --> 0:22:23.200 we expected from Ken Kidd was not to be found, 0:22:23.880 --> 0:22:28.600 all right. His basic position was, We've already got these 0:22:28.640 --> 0:22:35.760 sixth grade tunes. I don't need the extra of of 0:22:36.000 --> 0:22:41.439 you know. So that's when some months later it was 0:22:41.480 --> 0:22:45.359 released on Movelow Records as Universal Robot Band. But that 0:22:45.840 --> 0:22:49.280 Bailly Breaking Even is the seventh song from the logo. 0:22:51.480 --> 0:22:57.920 Wow, we didn't talk about mainline. 0:22:58.000 --> 0:23:01.919 That's another one of my favorite, but you tell us 0:23:01.920 --> 0:23:03.080 about recording that session. 0:23:07.240 --> 0:23:09.800 I stepped away from Black Ivory because we were being 0:23:09.840 --> 0:23:14.119 typecast into a slow jam group. All right, that's where 0:23:14.600 --> 0:23:17.440 you know, don't turn around you and I. I'll find 0:23:17.480 --> 0:23:19.439 a way all the slow jams that they loved with 0:23:19.480 --> 0:23:22.800 the falsetto, they wanted us, the audience wanted us to 0:23:22.920 --> 0:23:26.000 stay there, and thereby I would not accept us doing 0:23:26.040 --> 0:23:30.800 any fast. I could not stay in that environment because 0:23:31.000 --> 0:23:34.240 I was not growing creatively while the marketplace is going 0:23:34.320 --> 0:23:37.000 around me. So that's when I made a decision to 0:23:37.040 --> 0:23:40.280 actually step away and do a hiatus from Black Ivy. 0:23:40.760 --> 0:23:46.719 All Right, about somewhere around seventy eight seventy nine, Lenny Adams, 0:23:46.760 --> 0:23:51.800 who was still managing Black Ivory, came to me and said, 0:23:52.320 --> 0:23:55.199 I need songs for this new Buddha album, you know, 0:23:55.320 --> 0:23:59.159 or they're gonna drop us from Buddha, right And I said, well, 0:23:59.200 --> 0:24:01.320 I got three songs that I'm not doing anything with 0:24:02.000 --> 0:24:07.760 h Hustling coming Down and Maylind and I Will. You know, 0:24:07.920 --> 0:24:12.000 those songs are not as signed to anybody. Uh, And 0:24:12.080 --> 0:24:15.000 so Lenny was like, write your own ticket or whatever 0:24:15.040 --> 0:24:17.359 you want, whatever you need it to be. I want 0:24:17.400 --> 0:24:19.920 you to come back, bring the musicians in, all right. 0:24:20.359 --> 0:24:22.000 I said, well, if I'm gonna do it, we have 0:24:22.080 --> 0:24:24.400 to do it with Patrick Adams. We need Patrick Adams 0:24:24.720 --> 0:24:29.000 on it, we need James Callaway, you know. And and 0:24:29.119 --> 0:24:33.520 we just locked it up, lined it up. I gave 0:24:33.600 --> 0:24:35.680 them a demo so Russell could learn to sing the 0:24:35.760 --> 0:24:39.720 league right, and uh, you know, the backgrounds, we just 0:24:39.760 --> 0:24:43.560 sang as we normally would do. But I like it right. 0:24:44.040 --> 0:24:47.800 And Patrick came in did the strings and horns. The 0:24:47.880 --> 0:24:51.359 drums weren't right. Initially we used Leroy Mike Connor on 0:24:51.440 --> 0:24:54.800 the drums, but they were not falling right. So we 0:24:54.960 --> 0:24:57.680 had Earl Young come in and overdub his. 0:24:59.320 --> 0:25:03.720 Young hypothetically speaking, so say, if I'm like one of 0:25:03.720 --> 0:25:08.160 your peers of your contemporaries in nineteen seventy nine, and I'm. 0:25:07.960 --> 0:25:09.400 Producing the same music that. 0:25:09.320 --> 0:25:14.880 You're producing, Okay, what would what is a producer's rate 0:25:16.119 --> 0:25:20.840 in in seventy eight seventy nine eighty like in the 0:25:21.080 --> 0:25:25.199 in the era of twelve inch discos for the sassoles 0:25:25.240 --> 0:25:28.240 of the world, these small labels of the world, like 0:25:29.960 --> 0:25:33.560 what would my living be per per side like is 0:25:33.600 --> 0:25:35.080 it whatever you can. 0:25:35.000 --> 0:25:41.159 Work with or is it a contracted thing? Like how 0:25:41.200 --> 0:25:42.200 does one make a living? 0:25:43.760 --> 0:25:50.320 Barely? Basically, back in that period, you do good. If 0:25:50.359 --> 0:25:54.040 you could get a budget that was anywhere between say 0:25:54.080 --> 0:25:59.200 about thirty five hundred to about five thousand, the high 0:25:59.320 --> 0:26:03.160 end of that would be ten thousand. Right, we'll give 0:26:03.200 --> 0:26:07.000 you that, right and say, bring me my record, bring 0:26:07.040 --> 0:26:09.640 me a great record, bring me something that's gonna kill 0:26:10.080 --> 0:26:12.359 so forth and so on. And it was your job 0:26:12.800 --> 0:26:17.640 to take the amount that you were given and create 0:26:17.680 --> 0:26:22.359 that record, right, and whatever was left over, Yeah, you 0:26:22.359 --> 0:26:24.639 could walk home with. You know. So if you were 0:26:24.680 --> 0:26:27.359 given ten thousand dollars, then it only costs you six 0:26:27.480 --> 0:26:31.040 to do right, you know, the final record, then you're 0:26:31.080 --> 0:26:37.440 walking home with four. Right. So budgets around that time 0:26:37.880 --> 0:26:41.520 were about, you know, if they were reasonable, they were 0:26:41.840 --> 0:26:46.520 ten thousand and upper song, right, and that would give 0:26:46.560 --> 0:26:50.680 you a decent amount of room. And how you lived 0:26:50.720 --> 0:26:53.000 and how you lived off of it is how you 0:26:53.040 --> 0:26:57.280 could make that budget work with under ten thousand dollars, 0:26:57.280 --> 0:26:58.040 so that you had to. 0:26:59.600 --> 0:27:03.000 You weren't all and out of control. Okay, So did 0:27:03.040 --> 0:27:03.880 you have. 0:27:05.240 --> 0:27:10.440 Great relationships with Larry Levan or even Frankie Crocker at 0:27:10.480 --> 0:27:14.679 that like a being a song or like bringing them 0:27:14.680 --> 0:27:17.119 a test pressing and see if it works it doesn't work, 0:27:18.240 --> 0:27:20.520 are you able to go back and readjust if it 0:27:20.560 --> 0:27:21.280 does not work. 0:27:23.560 --> 0:27:26.480 I'm gonna take one person at a time. Larry Levan 0:27:27.080 --> 0:27:29.720 a R. I did not know who he was, and 0:27:29.800 --> 0:27:32.960 I did not know who what the Paradise Garage was. 0:27:33.040 --> 0:27:34.320 I thought it was a gage. 0:27:34.640 --> 0:27:38.840 Wait, what how did you create a soundtrack for Generation? 0:27:38.960 --> 0:27:39.080 It? 0:27:39.119 --> 0:27:41.119 Did not know what the Paradise Garage was? 0:27:41.480 --> 0:27:43.320 I did. I'm just being honest. 0:27:43.840 --> 0:27:46.199 So what was the epicenter of a place where you 0:27:46.320 --> 0:27:49.200 wanted to see how your music worked? 0:27:51.200 --> 0:27:52.480 Oh? He just went straight to them. 0:27:52.840 --> 0:27:56.600 Yeah, and that's where That's where my first gig at 0:27:56.640 --> 0:27:59.000 any of those clubs down there, long before I learned 0:27:59.000 --> 0:28:03.320 about Paradise Google. My first gig was at Studio fifty four, uh, 0:28:03.440 --> 0:28:07.040 performing Let's do it. As far as Lady Levan goes. 0:28:07.640 --> 0:28:12.040 I got to appreciate his art after I Know you 0:28:12.200 --> 0:28:15.879 Will was given to him to mix, right, and I 0:28:15.960 --> 0:28:20.119 was like, now you know we're from uptown, We're from Harlem, 0:28:20.160 --> 0:28:27.199 and we're like, we're belligerent about everything. So so we're like, 0:28:27.760 --> 0:28:31.880 ladle Van's mixing it? Who? We never heard of him. 0:28:32.240 --> 0:28:34.080 I don't know if I wanted him to have myself. 0:28:34.400 --> 0:28:38.440 Who is that? All right? So we stormed right track 0:28:38.480 --> 0:28:41.920 Studios on forty eighth Street where he's doing the final mix. 0:28:43.040 --> 0:28:45.680 Right And when I say we stormed, we jump in 0:28:45.680 --> 0:28:47.040 the cab, met James and Sunny. 0:28:47.520 --> 0:28:48.560 We are from Harlem. 0:28:48.680 --> 0:28:51.360 Yeah, yeah, we jump in the cab. We rolled all 0:28:51.400 --> 0:28:56.000 the way down there and we were like, oh, no, 0:28:56.080 --> 0:28:59.200 you're letting us in this session? This out on all right? 0:28:59.200 --> 0:29:03.480 Blah blah blah. So we basically boguarded our way up 0:29:04.240 --> 0:29:08.440 to the studio where it was working, and you know, 0:29:09.040 --> 0:29:10.920 they wouldn't let us in. They wouldn't let us in. 0:29:11.040 --> 0:29:15.000 Finally Labby came out and with gracious and said, oh, 0:29:15.040 --> 0:29:18.560 these are the producers, these are the songwriters. Let them 0:29:18.720 --> 0:29:21.480 end so far up the song and then he appaused 0:29:21.600 --> 0:29:24.120 us of what he had in mind and how he 0:29:24.200 --> 0:29:29.200 was working it, and it sounded so great, right. We 0:29:29.240 --> 0:29:32.360 was like, oh, I don't mean to go right ahead. 0:29:33.600 --> 0:29:38.560 So remixing was just a foreign idea, like letting someone 0:29:38.680 --> 0:29:41.320 borrow your stem. 0:29:41.640 --> 0:29:44.440 Your your your your mate, your your lifeline. 0:29:45.600 --> 0:29:51.160 Here's the thing. When you were budgeted by a record company, right, 0:29:51.760 --> 0:29:55.840 it was there. It was their property, period. Right. It 0:29:55.880 --> 0:29:59.520 was there, so you could do whatever mix you wanted 0:29:59.520 --> 0:30:01.280 to do and say this is the mix I want 0:30:01.320 --> 0:30:03.520 to come out, and they'll be like, okay, yeah, let's 0:30:03.600 --> 0:30:09.960 leave it ahead. And then they would call chef Patty Ba, 0:30:10.240 --> 0:30:18.080 John Wallace Man, they call whoever their guy, right, jelly Bean, Benitas, 0:30:18.360 --> 0:30:22.000 They say, hey, take this multi track and give me 0:30:22.040 --> 0:30:25.719 a great record, right, And then it would not be 0:30:26.560 --> 0:30:29.880 what the producer's vision was. It would be this other 0:30:30.000 --> 0:30:35.360 vision that was in the mind of the remixer, however 0:30:35.440 --> 0:30:38.800 that mind might be on that given day. All right, 0:30:38.920 --> 0:30:41.440 but that was the job. I mean you you wasn't 0:30:41.880 --> 0:30:45.960 if you didn't own that master, So you couldn't say, 0:30:46.000 --> 0:30:47.680 I'm going to make sure it's supposed to mix it. 0:30:48.000 --> 0:30:51.600 They owned the master so they could say and so 0:30:51.760 --> 0:30:54.800 after a minute, you have to say, you have to 0:30:54.920 --> 0:30:59.800 resign yourself to that dynamic, all right. One of the 0:31:00.320 --> 0:31:04.800 is that it's really definitive. Let's do it. Let's do it. 0:31:04.840 --> 0:31:11.640 Was an eleven minute song, right that had two bridges right, wow, 0:31:12.440 --> 0:31:15.640 and the vamp chorus. I was going nuts on as 0:31:15.640 --> 0:31:19.800 a lead vocalist, right. All of that ended up on 0:31:19.840 --> 0:31:22.560 the cutting wom floor at SAM Record. They was like, no, 0:31:23.000 --> 0:31:25.960 contain the record to this five minute thing, and this 0:31:26.080 --> 0:31:28.360 is what it's going to be. We heard it, we 0:31:28.360 --> 0:31:30.720 were discussed, we were like, oh my god, where's the 0:31:30.760 --> 0:31:35.040 rest of the record. Right, let's do it? Came out amazing, 0:31:35.200 --> 0:31:42.920 hit you just hit right. So in twenty sixteen, I 0:31:43.120 --> 0:31:47.360 had a copy of the eleven minute version right right 0:31:48.080 --> 0:31:50.600 right with the vocals and so forth and song, and 0:31:51.680 --> 0:31:55.959 Franky Knuckles played it at Studio fifty four right and 0:31:56.040 --> 0:31:58.840 I forgot to get the tape back from him, so 0:31:58.880 --> 0:32:03.280 he took it back to Cargo with him. Right Frankie 0:32:03.360 --> 0:32:09.040 passed away. He gave it to another DJ, DJ a 0:32:09.200 --> 0:32:14.120 manual something right, and he gets in touch with me 0:32:14.200 --> 0:32:18.720 twenty fifteen, says I have the eleven minute version of 0:32:18.800 --> 0:32:19.400 Let's do it. 0:32:20.720 --> 0:32:21.160 I'm like what? 0:32:22.800 --> 0:32:25.440 So he sent it to me. I sent it to 0:32:25.520 --> 0:32:29.640 my partner PR to master it right and then to 0:32:29.760 --> 0:32:34.480 initiate the startup or just entertainment. I said, let's just 0:32:34.520 --> 0:32:36.600 put it out for free. Let's give it to everybody. 0:32:36.640 --> 0:32:41.120 For free right, and we introduced everybody to what the 0:32:41.160 --> 0:32:45.040 full version of Let's do It is right, and they 0:32:45.120 --> 0:32:48.320 got the second bridge, they got to hear the second chord, 0:32:48.400 --> 0:32:50.719 they got to hear the vamp out or all of 0:32:50.760 --> 0:32:53.480 the things that were removed from it. They got to 0:32:53.560 --> 0:32:55.240 hear it, and they was like, oh my god, this 0:32:55.360 --> 0:32:59.480 is incredible. Why everybody started asking the questions that we 0:32:59.520 --> 0:33:02.000 were asked, you know, why did y'all chop it up 0:33:02.080 --> 0:33:06.560 like that? I put it all down to how music 0:33:06.640 --> 0:33:11.960 evolves and the business that uh that pertains to it right, 0:33:12.600 --> 0:33:15.880 you know, and and just not to let anything drive 0:33:15.920 --> 0:33:18.959 you so crazy that you doing crazy stuff. 0:33:20.040 --> 0:33:22.720 I wanted to ask you about Fonder Ray. She was 0:33:22.920 --> 0:33:25.560 like one of my favorite singers of that time. She said, 0:33:26.040 --> 0:33:27.160 over it like a fat rat. 0:33:27.240 --> 0:33:28.440 What was she like in the studio? 0:33:29.840 --> 0:33:33.280 She was pleasant, she was she was professional. 0:33:33.640 --> 0:33:34.560 And where did she come from? 0:33:35.560 --> 0:33:37.360 I don't know a book. 0:33:37.920 --> 0:33:39.480 So she was just brought to you as a client. 0:33:40.240 --> 0:33:44.000 She came from either it's the other Mount Vernon or 0:33:44.160 --> 0:33:47.120 Newer Shell or somewhere Yonkers or something like that. I 0:33:47.200 --> 0:33:52.240 think that's where she lives. Uh. When we did over 0:33:52.480 --> 0:33:55.360 Like a Fat that we recorded it as a demo 0:33:55.520 --> 0:33:59.960 with Bob Blank. Bob gave us some free studio time 0:34:00.720 --> 0:34:03.280 and Uh, we met James and Sonny. We went in 0:34:03.320 --> 0:34:05.840 and we just did our things, creating songs and so 0:34:05.960 --> 0:34:08.759 for up the songs. So over like Batlright was one 0:34:08.760 --> 0:34:10.960 of the songs. And we left the tape for Bob, 0:34:11.600 --> 0:34:16.000 and then Bob went to Vanguard and Vanguard had signed Fonder, 0:34:16.800 --> 0:34:20.400 and Bob called us up and said, we mind if 0:34:20.480 --> 0:34:24.239 he tried fond of Ray And I'm like, fond of 0:34:24.239 --> 0:34:30.200 who and He's like Fonda Ray and I'm like, uh, okay, 0:34:30.280 --> 0:34:32.600 Well we'll allow it if you let us be at 0:34:32.600 --> 0:34:37.000 the session, meaning myself and my cousin Sonny Davenport. 0:34:37.640 --> 0:34:38.040 Uh. 0:34:38.120 --> 0:34:41.160 We went to the session. She she learned the song 0:34:41.239 --> 0:34:44.400 and sang it very competently, giving us the performance that 0:34:44.480 --> 0:34:45.560 y'all are familiar with. 0:34:48.120 --> 0:34:52.160 Was that her first session, No she had she's also 0:34:52.239 --> 0:34:54.160 on she worked with August Darnell. 0:34:54.560 --> 0:34:56.000 Uh. 0:34:56.040 --> 0:34:59.440 During the she did she did Deputy Love It was 0:35:00.160 --> 0:35:01.520 it wasn't Doctor Buzzers. 0:35:01.520 --> 0:35:04.759 It was with Don Armando's second rumba band or something. 0:35:04.800 --> 0:35:05.040 Wow. 0:35:05.600 --> 0:35:08.399 He always had that crazy like alias and stuff. 0:35:08.400 --> 0:35:10.680 But definitely Love is a record though that's a jam 0:35:11.719 --> 0:35:13.000 did not know that she. 0:35:13.080 --> 0:35:18.239 Also had worked with Patrick Adams with a version of 0:35:18.360 --> 0:35:19.640 touch Me All Night Long. 0:35:19.960 --> 0:35:23.359 Yes, that's different than the one that we know, or. 0:35:23.840 --> 0:35:29.760 Different the version with spelled t u c h oh 0:35:30.440 --> 0:35:32.799 like it spelled t u c h me And she 0:35:32.960 --> 0:35:38.240 did that, uh before it got to the Sandy post 0:35:38.400 --> 0:35:38.759 that did it? 0:35:39.880 --> 0:35:43.880 Okay, Wow, all right, here's here's the question I always 0:35:43.880 --> 0:35:44.359 wanted to know. 0:35:45.040 --> 0:35:46.600 I'm getting right to Rick James right now. 0:35:46.920 --> 0:35:47.319 I knew it. 0:35:48.719 --> 0:35:50.759 So I have one question to ask you. 0:35:51.600 --> 0:35:53.879 All right, the way that you're holding your head right now, 0:35:55.560 --> 0:35:59.520 I already know what the answer is. But can I 0:35:59.560 --> 0:36:02.840 can I just take a wild guess that your involvement 0:36:02.880 --> 0:36:09.000 with Big Time is just that intro? No, oh, so 0:36:09.160 --> 0:36:11.839 you did the entire because the thing is is that 0:36:12.040 --> 0:36:16.280 the kick drum piano intro is such a Leroy Burgess sound. 0:36:16.360 --> 0:36:20.680 And then right when the song kicks in, I felt like, wow, okay, 0:36:20.680 --> 0:36:23.200 now it sounds like Rick James, how did that come? 0:36:23.360 --> 0:36:24.440 How did that come together? 0:36:25.680 --> 0:36:28.439 Okay? At the session I was telling you about where 0:36:28.480 --> 0:36:31.400 we recorded over like a fat rat for a Fonda 0:36:31.840 --> 0:36:35.239 or we for that one of the another one of 0:36:35.280 --> 0:36:38.560 the songs that we'd done was a song called Baytime 0:36:39.440 --> 0:36:42.840 right now, you know, I did the demo with the 0:36:42.880 --> 0:36:46.239 piano and James on Bassis, Sonday on drums and I 0:36:46.320 --> 0:36:48.120 sang in the you know, I did a demo of 0:36:48.160 --> 0:36:53.200 the of the vocals and shit right and on our 0:36:53.200 --> 0:36:56.160 way uptown to Bob Blank Studio was on twentieth and 0:36:56.280 --> 0:36:59.759 sixth Avenue right, and on our way back uptown, we 0:36:59.880 --> 0:37:03.960 just decided to stop at fifty seventh Street between eighth 0:37:04.080 --> 0:37:08.160 and ninth Avenue to stop at Kenny Morris's house. Kenny 0:37:08.440 --> 0:37:13.640 Morris was Patrick's partner, right to stop there to get 0:37:14.160 --> 0:37:17.919 a little package for us to feel good with. When 0:37:17.960 --> 0:37:24.520 we got uptown, we absolutely so, you know, and Kenny 0:37:24.640 --> 0:37:28.040 was holding so we went there all right. When we 0:37:28.200 --> 0:37:33.080 got there, Kenny's friend, Rick James was in attendance. He 0:37:33.280 --> 0:37:38.080 was he was visiting Kenny and oh, so, you know, 0:37:38.160 --> 0:37:40.160 we really want to do our business and get on. 0:37:40.280 --> 0:37:43.000 But then you know, Kenny was like, come on inside, 0:37:43.000 --> 0:37:47.960 and Patrick was right there, and uh so we did 0:37:48.000 --> 0:37:50.520 our little wine and dine thing. I mean, we'll not 0:37:50.680 --> 0:37:56.040 know Dona's wine. We already know, and Rig James was like, 0:37:56.360 --> 0:37:58.760 tell old Patrick, I'm getting ready to do my new album. 0:37:58.800 --> 0:37:59.640 I don't want more. 0:37:59.520 --> 0:38:02.560 Down to and so forth. I just need to be 0:38:02.600 --> 0:38:07.520 a good one and so forth. And I mentioned that 0:38:07.600 --> 0:38:09.680 we just came out of the studio doing a little 0:38:09.760 --> 0:38:11.759 demo and so for oh let me hear no, no, 0:38:12.440 --> 0:38:16.120 let me hear it, I'm looking for songs, right, and 0:38:16.200 --> 0:38:19.800 so big Time was the first song on the cassette 0:38:20.640 --> 0:38:24.680 and we only made it halfway through. Oh my god, 0:38:24.760 --> 0:38:26.799 that's my song. That's my song. I got to have 0:38:26.920 --> 0:38:31.520 it because big Time is the persona of big Time 0:38:31.640 --> 0:38:34.919 is Big James persona. It's all about a guy who 0:38:35.320 --> 0:38:36.799 arrived at the big Time. 0:38:37.000 --> 0:38:38.760 Life of fortune and fame and stuff. 0:38:38.840 --> 0:38:41.960 Yes, yeah, glamor and fame and all of that. So 0:38:42.000 --> 0:38:44.400 it was Paul, that's my song. I needed to Patrick 0:38:44.480 --> 0:38:46.600 be working out and so forth and so on. So 0:38:46.760 --> 0:38:50.399 Patrick worked it up. This is nineteen seventy nine. By 0:38:50.480 --> 0:38:53.799 nineteen eighty it was released as we made a deal 0:38:53.880 --> 0:38:56.560 for it to be the first single from the Garden 0:38:56.560 --> 0:39:02.720 of Love album, right, and we arranged for Rig James 0:39:02.760 --> 0:39:06.359 and Patrick too, for Patrick to co produce it with 0:39:06.520 --> 0:39:10.480 rig James and take it out. They took the multi 0:39:10.520 --> 0:39:14.440 track out to California, where Rig James added his flavor 0:39:14.520 --> 0:39:17.960 to it. The entire song, the change and everything like 0:39:18.000 --> 0:39:22.360 that that was written composed by me and Vig. James 0:39:22.440 --> 0:39:27.280 added his elements to it, but essentially, Uh he replayed 0:39:27.280 --> 0:39:30.280 the bass, took James callaway off and replayed the bass. 0:39:30.719 --> 0:39:34.400 Uh replayed some of the piano parts, put his horns 0:39:34.400 --> 0:39:40.080 on it, and so forth, and then added don't don't right, 0:39:41.360 --> 0:39:44.440 And I'd like to think, I don't want to be presumptuous, 0:39:44.880 --> 0:39:48.879 but this is before super Freaking all of that, and 0:39:49.280 --> 0:39:53.480 I'd like to think that Big Time was central in 0:39:53.719 --> 0:39:57.960 reviving Rick's career to such a degree that he was 0:39:58.000 --> 0:40:02.480 able to then take that model and create new songs 0:40:02.480 --> 0:40:05.640 from it, right, and that gave you the super Freak And. 0:40:07.920 --> 0:40:09.040 That's exactly what it did. 0:40:09.320 --> 0:40:14.160 But that piano intro, Yeah, it's such an Unricked James 0:40:14.160 --> 0:40:17.840 sounding thing that I was like, in my mind, I 0:40:18.160 --> 0:40:20.760 felt like, at the last minute, let's add that piano 0:40:20.800 --> 0:40:22.120 interro at the top, and then. 0:40:23.400 --> 0:40:26.040 No, but that was the whole record when we did 0:40:26.040 --> 0:40:28.560 it was that, you know, that was the whole demo. 0:40:33.560 --> 0:40:35.839 So I guess I really became familiar with you. 0:40:38.280 --> 0:40:40.600 Kind of the summer eighty four when like B Boy 0:40:40.640 --> 0:40:45.800 cultures starting to set off and via lemes release yourself. 0:40:46.440 --> 0:40:48.800 What was your thoughts on the Marley mar remix of 0:40:48.880 --> 0:40:49.239 that song. 0:40:50.239 --> 0:40:53.520 I didn't know who Marlly was before that, but I 0:40:53.719 --> 0:40:59.600 certainly got to know who he was since he did it. Okay, 0:41:00.120 --> 0:41:05.279 because to see for me, it became a practical situation. Uh, 0:41:05.880 --> 0:41:12.719 that part be goes release your sound, we right an 0:41:12.800 --> 0:41:16.480 octave from where I'm singing it now right right form 0:41:16.600 --> 0:41:19.000 that of right you might be able to do that 0:41:19.200 --> 0:41:23.880 once or twice right before your whole voice would break 0:41:23.960 --> 0:41:28.320 in half, give out right, just breaking half. So I 0:41:28.520 --> 0:41:32.160 always was like, while I understand the virtue of it 0:41:32.320 --> 0:41:35.760 being sampled, a lot of people expected it to be sunk. 0:41:36.160 --> 0:41:39.160 That was my second question. How much of a nightmare 0:41:39.320 --> 0:41:42.360 was it for them? Because that's the only version we played. 0:41:42.560 --> 0:41:45.360 We know there's other versions of the song, but we 0:41:45.520 --> 0:41:47.279 will always go to the B side and play the 0:41:47.360 --> 0:41:50.960 Marley mal version right right right, And it was inescapable 0:41:51.080 --> 0:41:52.440 in the summer of nineteen eighty four. 0:41:53.280 --> 0:41:58.960 Right. So I arrived at a balance between when I'm 0:41:59.000 --> 0:42:02.640 doing my live I let one of the girls or 0:42:02.680 --> 0:42:07.040 something like that do those parts right, and then I 0:42:07.120 --> 0:42:10.120 stick to you. Got to you know you need to 0:42:10.960 --> 0:42:14.880 stick to that, right. It makes it easy because, believe me, 0:42:14.960 --> 0:42:20.560 if I just did one full chorus of that, that's 0:42:20.600 --> 0:42:24.239 the end of the show. And thank you very much, 0:42:24.360 --> 0:42:27.040 good night, And I hope you enjoyed that. That that 0:42:27.239 --> 0:42:28.320 chorus that I didn't. 0:42:29.960 --> 0:42:31.960 I want to ask you, Lee Roy, there's a record 0:42:32.000 --> 0:42:35.040 you did a couple of years back with Glenn underground. 0:42:35.280 --> 0:42:36.880 Let me know you're feeling me record? 0:42:37.840 --> 0:42:40.600 Yes, myself and Glenn. 0:42:41.320 --> 0:42:42.879 Oh oh, Patrick working on that as well. 0:42:43.600 --> 0:42:48.279 Yes, Yes, the song was composed by Patrick, Glenn and myself. Uh. 0:42:49.280 --> 0:42:54.040 That was when a guy named Raddick who runs dust 0:42:54.160 --> 0:42:58.560 Tracks Records out of Chicago. Uh, he had a hook 0:42:58.680 --> 0:43:02.320 up with Glenn and Glenn had asked for myself and 0:43:02.440 --> 0:43:05.759 Patrick Rady Can convinced us to take a plane to 0:43:05.800 --> 0:43:08.239 fly out there for a couple of days and work 0:43:08.320 --> 0:43:13.600 with Glenn. And again that song was started from scratch. 0:43:13.600 --> 0:43:18.360 We had nothing, no no beating nor anything. And Patrick 0:43:18.440 --> 0:43:21.000 came up with with with the baseline that kind of 0:43:21.520 --> 0:43:24.080 took us somewhere and then I said, I added some 0:43:24.239 --> 0:43:28.200 cords to it, and then we had Glenn come in 0:43:28.680 --> 0:43:30.960 put the drums against it, and so forth and so 0:43:31.040 --> 0:43:34.799 on and we began to build a record up from there, 0:43:35.800 --> 0:43:37.960 and within two days we had that that song. 0:43:38.760 --> 0:43:41.120 I love that song, man, I just I was. I 0:43:41.239 --> 0:43:41.800 was so happy. 0:43:42.239 --> 0:43:45.160 A good buddy of mine, Escort out of out of Chicago, 0:43:45.280 --> 0:43:47.480 he sent me that when it came out, and I 0:43:47.600 --> 0:43:49.800 was just so happy to hear you like singing again 0:43:49.880 --> 0:43:51.480 and like, I just really love that record. 0:43:51.560 --> 0:43:51.680 Man. 0:43:52.080 --> 0:43:54.600 I have one inter life question. 0:43:55.400 --> 0:43:59.520 Yes, well, actually, okay, this is something you've really got 0:43:59.640 --> 0:44:02.880 to settle for me, because it's killing me. Did you 0:44:03.000 --> 0:44:08.160 ever work with Alan George or Fred McFarlane, Because even 0:44:08.239 --> 0:44:12.160 if your name is not on the credits, I still 0:44:12.680 --> 0:44:17.799 insist that you had something to do with somebody else's guy, 0:44:19.360 --> 0:44:22.759 even though you know your only connection to it is 0:44:22.840 --> 0:44:25.040 working with Jocelyn Brown and in her life. 0:44:26.080 --> 0:44:30.840 But and I'm not want to be starting something, but 0:44:33.200 --> 0:44:36.320 I can't be the only human being that thought that 0:44:36.480 --> 0:44:37.520 you produced. 0:44:37.160 --> 0:44:42.359 That well Alan George and Fred McFarlane. First of all, 0:44:42.440 --> 0:44:47.680 Fred McFarlane was a member of Conversion and Law like okay, 0:44:48.440 --> 0:44:52.000 keyboard player for my grouping one of the high keyboard 0:44:52.040 --> 0:44:55.680 players for the group. So we knew Fred, and we've 0:44:55.760 --> 0:45:00.640 known Alan because Alan had been close friends with our 0:45:00.800 --> 0:45:04.440 second the second Black Ivory band Stone Love, so we 0:45:04.520 --> 0:45:08.480 knew Allen through that. The reason why you hear a 0:45:08.680 --> 0:45:14.160 connection between somebody else's guy and music that you associate 0:45:14.280 --> 0:45:19.560 with me is two reasons. One is James Callaway, he's 0:45:19.640 --> 0:45:24.000 the bass player on that record right right, and and 0:45:24.320 --> 0:45:30.000 of course Fred McFarland. And the second element is George 0:45:30.040 --> 0:45:35.360 Ellington and Vincent Henry on brass because George and Vincent. 0:45:35.440 --> 0:45:38.719 George was a horn player for my band, Vincent was 0:45:38.800 --> 0:45:42.360 a man and and the two of them gave you 0:45:42.520 --> 0:45:46.800 that that kind of sound, right, So between James, Fred 0:45:47.360 --> 0:45:51.160 and Vincent and George, that's where you get that that 0:45:51.360 --> 0:45:54.040 layer of sounded compared to what we do. 0:45:55.000 --> 0:45:57.919 Yeah, you get throw. He probably throw what's seventh Heaven 0:45:58.000 --> 0:46:01.040 on that too, that GWNG Guthrie. It kind of all those. 0:46:01.000 --> 0:46:04.360 Really believe it or not, That's the first place I 0:46:04.480 --> 0:46:06.040 looked to me. 0:46:06.480 --> 0:46:09.600 It's your sound, I guess in general, and in wrapping 0:46:09.600 --> 0:46:13.360 this up unless you have another one, Yeah, I just wanted. 0:46:13.120 --> 0:46:17.319 To talk to him about his his noise record. Yeah, 0:46:18.120 --> 0:46:20.680 you work with a lot of my heroes on this one. 0:46:20.680 --> 0:46:21.440 With the remixes. 0:46:21.880 --> 0:46:26.920 Big ups to Josh Milan and Mark Matt from for 0:46:27.000 --> 0:46:30.680 a Hero, what's your connection with with those guys? 0:46:30.840 --> 0:46:33.440 And UH talk about your your work. 0:46:33.280 --> 0:46:38.960 With them everybody on that I'm blessed to have UH 0:46:39.239 --> 0:46:44.359 share their brilliance on these days. The Remixes have been 0:46:44.480 --> 0:46:48.239 friends for a little while now. A Stacy kid I 0:46:48.400 --> 0:46:52.880 met a few years ago when I invited him to 0:46:53.600 --> 0:46:57.600 Pais to come see my myself in my live. I've 0:46:57.719 --> 0:47:03.920 known Louis Vega ever take us all the way back 0:47:04.000 --> 0:47:08.120 to the conversion we make in twenty sixteen. Kenny Carpenter, 0:47:08.760 --> 0:47:10.879 good friend of mine that I worked with a song 0:47:11.040 --> 0:47:14.200 on him called more Love, and he came back and 0:47:14.320 --> 0:47:17.200 did some of the early mixes on remake that I 0:47:17.280 --> 0:47:21.719 did of Jesus Children of America about Stevie. Mark Mack 0:47:22.320 --> 0:47:25.560 is a friend, very long time friend. I've known him 0:47:25.600 --> 0:47:28.880 for about a good twenty twenty five years. It was 0:47:29.040 --> 0:47:29.760 DEAs Parks. 0:47:29.920 --> 0:47:31.879 I was about to say, Dans Parks man, Oh my God, 0:47:32.000 --> 0:47:32.840 rest in peace. 0:47:33.280 --> 0:47:39.640 Bear departed and ascended angel Death Parks who insisted on 0:47:39.800 --> 0:47:44.479 me meeting Mark right and said, Marc is the guy Mark, 0:47:44.600 --> 0:47:47.759 and Mark has since I've met him and since I've 0:47:47.800 --> 0:47:50.480 worked with him, everything that Mark has done has been 0:47:50.680 --> 0:47:55.239 just the absolute truth, just so pure. So to wrap 0:47:55.360 --> 0:48:00.360 up the whole album and reflect Nicholas is. He was 0:48:00.440 --> 0:48:04.960 the surprise because he heard These Days the album, the 0:48:05.080 --> 0:48:10.160 initial album from which the remix album is inspired, and 0:48:10.280 --> 0:48:12.600 heard the song all together, and he was just really 0:48:12.719 --> 0:48:15.520 taken with that, and I was taken with all of 0:48:15.640 --> 0:48:19.319 the reflex remixes. He's the one who does the best 0:48:19.440 --> 0:48:23.000 remixing that I've heard. When I heard him do Rock 0:48:23.080 --> 0:48:26.160 with You by Michael Jackson and All Night Long by 0:48:26.320 --> 0:48:29.560 Lino Richie. He does his thing in the Stone with 0:48:29.719 --> 0:48:33.360 earth Wind and Fire. He's really a brilliant Nicholas is 0:48:33.440 --> 0:48:37.920 really a brilliant remixer. So I was blessed that all 0:48:38.000 --> 0:48:41.040 of them, when they heard These Days the initial album 0:48:41.160 --> 0:48:44.080 come out, they called me up and they said, hey, 0:48:44.239 --> 0:48:46.600 I want to remix this, and I want to remix that, 0:48:47.040 --> 0:48:48.480 and I want to do this, and I want to 0:48:48.560 --> 0:48:52.160 do that. And I spoke with my partner, pl Sweets, 0:48:52.680 --> 0:48:55.960 and he said, well, let's do a remix album. You 0:48:56.080 --> 0:49:00.200 know that just features remixes, right, And that's where this 0:49:00.400 --> 0:49:05.439 latest project came. These Days initial album was released back 0:49:05.520 --> 0:49:10.440 in September twenty twenty two, and the remix album Just 0:49:11.160 --> 0:49:15.479 It was initially released in March twenty third, twenty twenty three, 0:49:16.000 --> 0:49:20.640 and then as of last Thursday it hit track Sauce 0:49:22.200 --> 0:49:24.920 so and now people are starting to really get into it. 0:49:25.280 --> 0:49:29.120 But those guys blessed me with their talent and with 0:49:29.320 --> 0:49:33.360 their insight and with their genius, and they made it 0:49:33.520 --> 0:49:36.320 into a project that I can really really be proud of. 0:49:37.000 --> 0:49:39.600 Yeah. Now we're all disciples, man, We're all disciples. 0:49:40.160 --> 0:49:43.239 So I got one more record to ask before we rap, 0:49:43.719 --> 0:49:50.239 because not many people talk enough about Eddie Kendricks's is 0:49:50.400 --> 0:49:54.400 aristera period? And you worked on the Something More record? 0:49:54.760 --> 0:49:56.680 I never used to dance. Can you talk about what 0:49:57.160 --> 0:49:58.879 like working with Eddie Kendricks. 0:49:58.600 --> 0:50:02.160 Like what it was like? It was a lot of 0:50:02.239 --> 0:50:09.239 fun because Eddie is a cannabis indulgence as I am. 0:50:10.239 --> 0:50:13.520 And hey, no the club amen. 0:50:15.440 --> 0:50:18.920 So Patrick got the deal when Eddie when he was 0:50:19.000 --> 0:50:21.799 working with Arista, and he said, I got to Eddie 0:50:21.840 --> 0:50:24.560 Kendrick deal. I said, oh, great, that's cool. Do you 0:50:24.640 --> 0:50:26.840 have anything for him? Not really, we don't have nothing, 0:50:27.280 --> 0:50:29.319 but I'd like to meet him. So Patrick said, oh, 0:50:29.400 --> 0:50:30.960 come on down, I have a meet him with him. 0:50:31.360 --> 0:50:34.120 So forth and so on. So I bought my team 0:50:34.280 --> 0:50:37.000 meet James and Sunny. We went down there, we met, 0:50:37.120 --> 0:50:39.400 you know, chopped it up, had a few drinks and 0:50:39.440 --> 0:50:41.480 so forth and so on, and I was like, well, Eddie, 0:50:41.520 --> 0:50:46.200 what do you want to sing about? Right? And he said, 0:50:46.239 --> 0:50:48.040 I don't really know, I don't really care. Just write 0:50:48.080 --> 0:50:51.920 me a great song. For whatever reason, we started talking 0:50:51.920 --> 0:50:57.359 about the Temptations moves and the choreography and so forth. 0:50:57.400 --> 0:50:59.759 And now I think I started talking about how Black 0:50:59.840 --> 0:51:04.960 Eyes was biting his choreography, you know. So I started 0:51:05.000 --> 0:51:08.480 talking about that and he said, well, I never liked 0:51:08.560 --> 0:51:11.600 the dancing. I'm not a dancer. I'm a singer. 0:51:12.239 --> 0:51:12.359 Uh. 0:51:12.840 --> 0:51:15.520 And so although I had to do it because it 0:51:15.640 --> 0:51:20.000 was part of my my duties as a Temptation, you know, 0:51:20.080 --> 0:51:22.480 to do the choreography and all of that, but I 0:51:22.600 --> 0:51:26.479 never really liked it. And I was like, wow, there's 0:51:26.560 --> 0:51:31.560 our song story. So myself and my cousin Sonny and 0:51:31.640 --> 0:51:35.879 my brother James, we created a song called I Never 0:51:36.000 --> 0:51:39.120 Used to Dance. It's about which is about a dude 0:51:39.200 --> 0:51:42.279 who doesn't really like dancing. You know, how many you 0:51:42.400 --> 0:51:45.000 go to a party and you see the dudes standing 0:51:45.080 --> 0:51:47.440 up against the wall while the chick get out, you know, 0:51:47.560 --> 0:51:49.640 they out there doing anything and the dudes is just 0:51:49.840 --> 0:51:52.719 like standing there looking at it. Yeah, how about that? 0:51:53.080 --> 0:51:53.840 How about the Mets? 0:51:54.120 --> 0:51:56.480 You know the Wallflower song? 0:51:56.920 --> 0:52:00.960 Yeah, so they're doing that. But never used to dances 0:52:01.000 --> 0:52:03.640 about that one chick that you see it hit the 0:52:03.760 --> 0:52:06.640 floor and oh my god, I just got to dance 0:52:06.719 --> 0:52:09.600 with it. And all of a sudden, you're not dancing behind, 0:52:10.440 --> 0:52:13.080 you're not dancing the ass find yourself out on the floor, 0:52:13.480 --> 0:52:16.600 which is he's the one that gets you to do it. 0:52:16.880 --> 0:52:21.080 So that's what never used to dance is all about. Wow. 0:52:21.400 --> 0:52:23.440 And he heard it. When he heard it, it was like, oh, 0:52:23.480 --> 0:52:27.759 that's perfect, that's me all that's me, that's it so 0:52:28.400 --> 0:52:34.840 so uh And for me, listen, when I was thirteen fourteen, 0:52:35.280 --> 0:52:41.480 I was singing just my imagination and the way you do, 0:52:41.600 --> 0:52:45.960 the things you do, those songs were just ingrained in me. 0:52:46.400 --> 0:52:52.200 To be working with an icon like him, right, oh, 0:52:52.480 --> 0:52:55.879 and for him to be doing one of my compositions, 0:52:55.960 --> 0:52:59.600 one of my co productions, was just a dream come true, 0:53:00.239 --> 0:53:04.160 many many dreams that have come true in my time 0:53:04.239 --> 0:53:05.320 in this industry. 0:53:06.280 --> 0:53:09.360 Yo, man, this is some of the best two hours 0:53:09.560 --> 0:53:14.440 ever been waiting on this, man, it's nerding out. Thank you, man, 0:53:15.400 --> 0:53:17.279 I can't even thank you enough for this, Like you 0:53:17.400 --> 0:53:21.759 know you've changed culture and you know you can't there 0:53:21.840 --> 0:53:23.840 there aren't enough flowers in the world to give you, 0:53:24.000 --> 0:53:27.040 man like like what you've done for dance culture, man 0:53:27.520 --> 0:53:31.279 is like real heads no, and we just thank you 0:53:31.680 --> 0:53:33.080 for doing our show with us. 0:53:33.520 --> 0:53:35.440 Thank you for the music, man, Just your music is 0:53:35.800 --> 0:53:38.520 so much joy to like to my life, you know 0:53:38.520 --> 0:53:41.279 what I mean, and uh, always a good time. 0:53:41.600 --> 0:53:44.200 So just just thank you for all your contributions. Man, 0:53:44.239 --> 0:53:44.799 straight up. 0:53:45.120 --> 0:53:48.879 Blood Shulan, thank you all for having me. I'm very 0:53:48.920 --> 0:53:53.800 aware of how successful your work is. Question this team is. 0:53:54.400 --> 0:53:57.600 I'm just happy to be a part of it, ah 0:53:59.120 --> 0:54:03.239 and happy to participate in this. Uh. You guys have 0:54:03.360 --> 0:54:04.960 some really great questions. Man. 0:54:05.400 --> 0:54:07.840 You know we're fans. We are fans. 0:54:08.440 --> 0:54:11.120 You know I'm a DJ, so I'm only as good 0:54:11.160 --> 0:54:14.640 as the knowledge I have of you know the records 0:54:14.680 --> 0:54:18.840 I gravitate towards. And you know your your records have 0:54:18.960 --> 0:54:21.160 saved many many a party of mind. So thank you 0:54:21.280 --> 0:54:21.880 very much for that. 0:54:22.239 --> 0:54:25.239 That's what's up. That's what's up. Thank you, yo. 0:54:25.360 --> 0:54:28.600 When be having super Steve and Unpaid Bill and Fantigolo 0:54:28.760 --> 0:54:32.759 and like I if this is another another classic, much 0:54:32.880 --> 0:54:34.959 loving extravag handle, love it energy. 0:54:35.239 --> 0:54:37.680 We will see all next time, all right, Thank you. 0:54:43.000 --> 0:54:43.200 Much. 0:54:43.239 --> 0:54:45.840 Love Supreme is a production of iHeart Radio. 0:54:51.120 --> 0:54:54.359 For more podcasts from iHeart Radio, visit the iHeart Radio app, 0:54:54.600 --> 0:54:57.640 Apple Podcasts, or wherever you listen to your favorite shows.